Robert Pinsky – författare

Broadway, the main street that runs through Robert Pinsky’s home town of Long Branch, New Jersey, was once like thousands of other main streets in small towns across the country. But for Pinsky, one of America’s most admired poets and its former Poet Laureate, this Broadway is the point of departure for a lively journey through the small towns of the American imagination. Thousands of Broadways explores the dreams and nightmares of such small towns—their welcoming yet suffocating, warm yet prejudicial character during their heyday, from the early nineteenth century through World War II.

The citizens of quintessential small towns know one another extensively and even intimately, but fail to recognize the geniuses and criminal minds in their midst. Bringing the works of such figures as Mark Twain, William Faulkner, Alfred Hitchcock, Thornton Wilder, Willa Cather, and Preston Sturges to bear on this paradox, as well as reflections on his own time growing up in a small town, Pinsky explores how such imperfect knowledge shields communities from the anonymity and alienation of modern life. Along the way, he also considers how small towns can be small minded—in some cases viciously judgmental and oppressively provincial. Ultimately, Pinsky examines the uneasy regard that creative talents like him often have toward the small towns that either nurtured or thwarted their artistic impulses.

Of living in a small town, Sherwood Anderson once wrote that "the sensation is one never to be forgotten. On all sides are ghosts, not of the dead, but of living people." Passionate, lyrical, and intensely moving, Thousands of Broadways is a rich exploration of this crucial theme in American literature by one of its most distinguished figures.

Part of the Jewish Encounter seriesPoet, warrior, and king, David has loomed large in myth and legend through the centuries, and he continues to haunt our collective imagination, his flaws and inconsistencies making him the most approachable of biblical heroes. Robert Pinsky, former poet laureate of the United States, plumbs the depths of David’s life: his triumphs and his failures, his charm and his cruelty, his divine destiny and his human humiliations. Drawing on the biblical chronicle of David’s life as well as on the later commentaries and the Psalms—traditionally considered to be David’s own words—Pinsky teases apart the many strands of David’s story and reweaves them into a glorious narrative.Under the clarifying and captivating light of Pinsky’s erudition and imagination, and his mastery of image and expression, King David—both the man and the idea of the man—is brought brilliantly to life.

A new book of poems by the three-time poet laureate Robert Pinsky, a writer "rarely equalled" (Louise Glück). Robert Pinsky, one of our most ambitious, inventive, and finely tuned poets, takes an original approach to the fraught, central matter of borders in Proverbs of Limbo, his first new book of poetry in eight years. In this collection, the poet mines and maps limbal regions: those spaces between differences that can be at once creative and oppressive, enlightening and dark, exciting and fatal. For Pinsky, they include the familiar borders between demographic categories, as well as limbal realities that are more personal—clashing ways of understanding, personal history and world history, health and illness, freedom and compulsion, intimacy and community, personality and culture—all the countless variations of in-between. The title Proverbs of Limbo tips its hat, at an angle, to the great poet William Blake’s Proverbs of Hell. Blake’s jagged, contrary proverbs resist, from within, the binary rights and wrongs of conventional Christianity: “The road of excess leads to the palace of wisdom”; “The tygers of wrath are wiser than the horses of instruction.” Here, Pinsky embodies a different resistance to different conventions of understanding. “The Buddha,” begins the title poem, “is a liquor store / On a busy corner.”

From An Explanation of America:LAIRRobert PinskyInexhaustible, delicate, as ifWithout source or medium, daylightUndoes the mind; the infinite,Empty actual is too bright,Scattering to where the roadWhispers, through a mile of woods …Later, how quiet the house is:Dusk-like and refined,The sweet Phoebe-notePiercing from the trees;The calm globe of the morning,Things to read or to writeRanged on a table; the brainA dark, stubborn current that breathesBlood, a deaf wadding,The hands feeding it paperAnd sensations of wood or metalOn its own terms. Trying to readI persist a while, finish the recognitionBy my breath of a dead giant''s breath--Stayed by the space of a rhythm,Witnessing the blue gulf of the air.

From Sadness and Happiness: Poems by Robert Pinsky:CEREMONY FOR ANY BEGINNINGRobert PinskyAgainst weather, and the randomHarpies--mood, circumstance, the lawsOf biography, chance, physics--The unseasonable soul holds forth,Eager for form as a renownedPedant, the emperor''s man of worth,Hereditary arbiter of manners.Soul, one''s life is one''s enemy.As the small children learn, what happensTakes over, and what you were goes away.They learn it in sardonic softComments of the weather, when it sharpensThe hard surfaces of daylight: lightWinds, vague in direction, like bladesLavishing their brilliant strokesAll over a wrecked house,The nude wallpaper and the bruteIntelligence of the torn pipes.Therefore when you marry or buildPray to be untrue to the plainDominance of your own weather, how it keepsGoing even in the woods when notA soul is there, and how it impliesAlways that separate, coldSplendidness, uncouth and unkind--On chilly, unclouded mornings,Torrential sunlight and moist air,Leafage and solid bark breathing the mist.

In this book Robert Pinsky writes about contemporary poetry as it reflects its modernist and Romantic past. He isolates certain persistent ideas about poetry''s situation relative to life and focuses on the conflict the poet faces between the nature of words and poetic forms on one side, and the nature of experience on the other.The author ranges for his often surprising examples from Keats to the great modernists such as Stevens and Williams, to the contents of recent magazines. He considers work by Ammons, Ashbery, Bogan, Ginsberg, Lowell, Merwin, O''Hara, and younger writers, offering judgments and enthusiasms from a viewpoint that is consistent but unstereotyped.Like his poetry, Robert Pinsky''s criticism joins the traditional and the innovative in ways that are thoughtful and unmistakably his own. His book is a bold essay on the contemporary situation in poetry, on the dazzling achievements of modernism, and on the nature or "situation" of poetry itself.

The place of poetry in modern democracy is no place, according to conventional wisdom. The poet, we hear, is a casualty of mass entertainment and prosaic public culture, banished to the artistic sidelines to compose variations on insipid themes for a dwindling audience. Robert Pinsky, however, argues that this gloomy diagnosis is as wrongheaded as it is familiar. Pinsky, whose remarkable career as a poet itself undermines the view, writes that to portray poetry and democracy as enemies is to radically misconstrue both. The voice of poetry, he shows, resonates with profound themes at the very heart of democratic culture. There is no one in America better to write on this topic. One of the country''s most accomplished poets, Robert Pinsky served an unprecedented two terms as America''s Poet Laureate (1997-2000) and led the immensely popular multimedia Favorite Poem Project, which invited Americans to submit and read aloud their favorite poems. Pinsky draws on his experiences and on characteristically sharp and elegant observations of individual poems to argue that expecting poetry to compete with show business is to mistake its greatest democratic strength--its intimate, human scale--as a weakness. As an expression of individual voice, a poem implicitly allies itself with ideas about individual dignity that are democracy''s bedrock, far more than is mass participation. Yet poems also summon up communal life.. Even the most inward-looking work imagines a reader. And in their rhythms and cadences poems carry in their very bones the illusion and dynamic of call and response. Poetry, Pinsky writes, cannot help but mediate between the inner consciousness of the individual reader and the outer world of other people. As part of the entertainment industry, he concludes, poetry will always be small and overlooked. As an art--and one that is inescapably democratic--it is massive and fundamental.